Review: Werewolf of London

Werewolf of London, 1935, 75 minutes, Universal, black and white. Directed by Stuart Walker. Starring Henry Hull as Dr. Wilfred Glendon, Warner Oland as Dr. Yogami, Valerie Hobson as Mrs. Lisa Glendon, Lester Matthews as Capt. Paul Ames, and Lawrence Grant as Sir. Thomas Forsythe, Scotland Yard chief. Schlock-Meter rating: 8 stars out of 10.

The Werewolf of London, which pre-dates Lon Chaney Jr.'s The Wolfman by several years, drips in atmosphere. There's foggy London nights, remote Tibetan valleys and sinister chilly nights in deserted country homes. It's the tale of a London botanist (Hull) who travels to Tibet to find a rare flower which blooms when the moon shines. Also, legend has it that it serves as an antidote to lycanthropy, or literally, becoming a werewolf. In Tibet, Hull is attacked by a werewolf, and while fighting him off, is bitten on the arm. He returns to London with the flower.

Once in London, the workaholic Hull is visited by an Oriental colleague (Oland) who asks for the flower to help patients, or so he claims. Oland, who carries a charmingly sinister persona, hints that he was the werewolf Hull fought off in Tibet. Meanwhile, Hull's Dr. Glendon, much to his surprise and horror, become a werewolf. The transformation leaves him evil, and he kills several women when the moon is full. An old beau (Matthews) of Glendon's neglected wife Lisa (Hobson), visits the community and begins to suspect Hull.

This film is not too scary, but it's still very well made and very entertaining. Hull is a bit too skinny to inspire much fear and his werewolf is not too threatening or awful in appearance. In fact, the werewolves in this film aren't much stronger than the women they attack. Nevertheless, Hull's feelings of horror and helplessness at what has happened to him create strong pathos. In a particularly emotional scene Hull, desperately prays to God to spare him the werewolf curse. Then, he adds a final prayer, asking that at least he be spared of killing his wife if he be so cursed. In a way, Hull's dilemma is similar to John Abbott's in The Vampire's Ghost (Republic, 1945). They are reluctant monsters!

There are a few silly scenes of stereotypical neighbors and party guests who distract from the plot, and another subplot where the hero Matthews makes a play for Hull's wife, Lisa. But star Hull, despite his physical limitations, does a better-than-average job, and Oland also contributes to the fun. The music is splendid, and was copied in many other horror films of that era. The method of Hull's "werewolfism" is a flower plant. That was certainly changed by the time Chaney Jr. became the wolfman. Werewolf of London was a box-office flop for Universal, and that ended Hull's bid for horror star status. Still, the film holds up well today. Catch it when you can on Turner Classic Movies or you can buy it fairly cheap.